Calliope Theatre’s “Scrooge the Musical” may be the most companionable version of Dickens’ “A Christmas Carol” you’re ever likely to see.

Author, composer and lyricist Leslie Bricusse has taken considerable liberty with the story of Ebenezer Scrooge’s road to spiritual redemption, eschewing dour gravitas in favor of a lighter-toned musical entertainment, which director Dave Ludt imparts with a jolly touch.

John Bausch’s Scrooge is less of an intimidating curmudgeon, in the opening scenes, than some sort of disgruntled small business CEO who can’t even enjoy making money anymore, let alone work up much ire at allowing Bob Cratchit (an amusingly flustered Ludt) to have Christmas Day off.

Ludt benefits from his collaboration with musical director John Leslie, who coaxes excellent vocals from Ludt on “Christmas Children.” There is plenty of harmony on display throughout, beginning with the show-opening “A Christmas Carol,” festively rendered by the large ensemble cast.

There are some surprising revelations in this revisionist fruitcake of a show, none more startling than Scrooge’s encounter with Michelle Cote’s Christmas Past. Actually it’s a lovely idea that just might have gone through Dickens’ head while he was writing his story. Who knows?

Cote sings “Love While You Can” with soothing tenderness while leading Scrooge through his childhood and adolescent days.

Before we get to that point, Jeffrey Fuller, as Jacob Marley, does his mighty best to plunge into the daunting lower depths of “Make the Most of This World.” His voice strains to get there, but he comes up to the surface reasonably intact. Fuller’s take on Marley is less frightful than mournful, and even funny, when he presents Scrooge with an extra large set of chains late in the show.

Marley’s entrances are preceded by ominous, rumbling sound effects, a cross between a constant drumbeat and jets lined up at Logan waiting for takeoff.

Bausch frets through “It’s Not My Fault” with comic denial, and when he sings “I Hate People,” you almost feel like taking his damaged, hurting Scrooge under your arm, and saying “there, there, now, my dear fellow, you’ve made some poor decisions in life, but it’s never too late to make amends.”

It’s as if he heard you when he sings his way, hopefully and gently, through “I Like Life,” “A Better Life” and “I’ll Begin Again.” He’s given terrific support on “I Like Life” with Dennis Deyo’s vivid, robust turn as Christmas Present. Bausch teams up with Scrooge’s younger version of himself (Jack Dillon) on the poignant “You-You.” Bausch also joins Dillon and Mikaila Traina (playing Scrooge’s lost love Isabel) on the heartfelt “Happiness.”

Other musical standouts include “December the Twenty-fifth,” led by Bob Chisholm’s cheery Mr. Fezziwig, and the humorously ironic “Thank You Very Much,” essayed with mirthful impudence by Chris Harris’ Tom Jenkins. Dancing atop Scrooge’s coffin is so rude! Funny too, under Karen White’s choreography.

Mary Mahoney’s Tiny Tim is charmingly emotive on “Christmas Children” and “The Beautiful Day.” Ryan Thibodeau warmly enacts Scrooge’s nephew Harry, and like the rest of the large cast, benefits from John Wright’s astute dialogue coaching.

Ludt’s set is an efficient, mobile amalgam of London streets, Scrooge’s office and home, the Cratchit household, and past, present and future tableau. The authentically embroidered costumes are courtesy of Donna Reidy, Megan Burke, Jan Fuller and the cast. They’ve even provided Scrooge with a Santa outfit. Taking liberty indeed.

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